In 2014, when I was a High School junior and wispy sixteen year old, I worked for a brand called Vince: it was my third modeling job and my first overnight in the Ford model apartments in New York City. It was actually a rather turbulent two days: I was alone and so agonizingly shy that the attention funneled at me while on set brought me, each morning and always surreptitiously, to tears. This fall, three and a half years later, I returned to Vince for a few days to shoot their pre-fall web content. This time the shoot was in Bushwick. This time I spent the night(s) with a former classmate, from that very same high school, who now has a midtown apartment, and this time I knew the ropes of my profession and felt no more out of place on set than anyone lending their body to a group of creative and marketing-minded strangers necessarily feels. Indeed, not all of the people on set this time were strangers—both of the in-house photographers had shot me when I was that wispy new face, when we were in a Manhattan office and I was acutely disoriented. So I very much enjoyed the days I spent at Vince for this job, and the friends I made there and the collection we shot, a few pieces of which I already have my eye on. I very much enjoyed completing a full circle of sorts, in a superficial industry so unconducive to symmetry and resolution of a personal nature. I enjoyed, ultimately, the linking of past with present, and the evidence, logical but somehow surprising still, that I grew up in the interim.
One September morning this fall I was surprised that the beach was cold. It was a warm, end-of-summer week with blue skies and searing sun, but the wind on Silverpoint Beach on Long Island was biting. I was there, at six in the morning, for a shoot for Allure Magazine's December issue. I spent the day wearing pastel robes, frills, silks, and oh so much sand, running and doing backbends and squinting into the blinding light. The team was fantastic, the artistic approach was liberating and, at last, it warmed up. Shot by Yelena Yemchuk, Styled by Zara Zachrisson, Hair by Tamas Tuzes, Makeup by Susie Bol. Thank you all so so much!
24 hours in LA this summer produced this denim lookbook for the ethical American jeans brand Citizens of Humanity. I shot in the company's headquarters just on the outskirts of Hollywood, at their bustling warehouse and factory where to reach the photo studio I had to walk through hundreds of men and women on assembling and tagging and inventorying boxes on boxes of bluejeans. It was exciting to see the creation of garments actually occurring within our country and occurring by virtue of proper wages rather than exploitation. Thanks CoH!
This past July I spent two days in a mobile home under the Brooklyn Bridge--with a rather famous (and infamous) photographer and a closet stuffed with every coat and sweater of the latest collections. They were rainy days, and the layers were appreciated in the clammy breeze coming off the East River. I was shooting a Fall story for Italian Marie Claire, and the team was one of the most kind and familial of any I've worked with so far. I genuinely enjoyed collaborating with them to enhance their work (makeup, hair, styling), and it was one of the most physically strenuous shoots I can recall delivering. I was constantly in motion: running down streets, hopping onto and off rocks, balancing on railings, doing backbends and splits and squats in a dance-like hunt for the perfect pose. By sundown of the second day my hamstrings were sore and my elbows bruised, but I'd done my job thoroughly: our shoot was selected for one of the September covers of the magazine. Photography: David Bellemere, Styling: Elisabetta Massari, Hair: Benoit Moeyaert, Makeup: Dheanna Hagan. Thank you infinitely!!
Described by iD magazine as "feminine, mischievous, bold and irreverent," Hermés' new perfume, called Twilly d'Hermés, is made with sandalwood, tuberose and ginger. It's campaign image was shot in Paris by Liz Collins; its video ad was filmed in Thailand, on a set of Paris, and directed by the sweetest Arnaud Uttyenhove. Creative direction by Fabien Mouillard, hair by Laurent Phillipon, Makeup by Stephanie Kunz, styling by Elodie David, choreography by Jennifer White for Sidi Larbi Cherkaoui. My fantastic fellow models for the video were Sofia Tesmenitskaya, Peyton Knight, Ivanka Smilenko, Ellen de Weer, Liah O'Prey, Cai Lee, and Marine Gaudin. This was truly a stunning team and I can't express my gratitude aptly. I am humbled beyond words, Hermés!
Theory S/S 2017 shot by the brilliant Lena Emery, styled by Naomi Miller, alongside model Ally Ertel. Thank you all!
Wearing sweaters in the sun on an unseasonably hot April afternoon is always a challenge. But for this shoot on the roof (and inside) of a spacious Bushwick apartment the sun was a necessary evil, and made all the more bearable by the fact that I was surrounded by a team of friends I had shot with only a few months before. Plus, there were kittens... Rebecca Taylor "La Vie" lookbook, shot by Kava Gorna. Thank you sweet people for having me again!
I've always admired Zara's online imagery. Everyone has: I've been on high-fashion jobs who's moodboards and hair & makeup reference sheets are riddled with screengrabs of Zara e-com. Somehow, Zara has engineered a radical, desirable, immaculate brand characterized by rich lighting, elongated photograph angles, artsy crops, inventive garment styling, and, most interesting to me, distinct models. Thus this affordable "fast fashion" label has, rather improbably, become an arbiter of taste not only in the fashion industry but in the modeling realm as well. And so I was thrilled in the end of July to fly to Spain to shoot for them--for a whole week. The days were long and relentless, with near-infinite racks of merchandise to photograph and a single break in which to rest my feet. Exhausted and sleep-deprived at the end of the week, I returned home having learned that Zara e-com, like most things in life, is a lot less glamorous behind the scenes than it may initially appear, but oh was I thrilled to have been to the locus of one of my favorite brands, and to have seen the magic in action.
One half hour in Studio Montmartre is all it took for me to put on a latex dress, have my hair and makeup slapped on, and stand for a few polaroid pictures by Viktor Vauthier one afternoon in Paris this May. Part of an online story highlighting the clothes of streetwear brand Off White, these pics portray me as something I'm not used to being, somehow. Something that's not at all my style, but still charmingly interesting, amusing, confusing. Courtesy of Models.com.
Appropriately released in July (though awkwardly a deliberate week after Independence Day), this shoot for German Harper's Bazaar was "Americana" themed, and though it did not draw from purely American designers or anything like that, it did claim to depict quintessentially American styles and heirlooms (though then there's that Gucci dress coming out of left field that I don't think particularly Amercian but after all what's American is up for debate, as we are instructed each and every day by the actions of this new American president). To try and find an acceptable way of being American, I think, to create one's own American identity-- something humble and tolerant and honest and all the other things Mr. Trump is not--is the errand of the day, and our only recourse. Photography by Regan Cameron, styling by Kerstin Schneider, hair by Linda Shalabi, make up by Misha Shahzada, casting by Stephan Dimu. Thank you all.
The morning after the Dior Cruise show in the hills in Los Angeles, I flew at six am to San Francisco, where I went straight from SFO to set for Everlane, a highly humane, highly homey American brand. And our set, ladies and gents, was the beach...
These pictures were taken on my first ever trip to the West Coast. It was April and I was fresh off a week in Paris when I received the ecstatic word that I was to be flown to California for a shoot with Nordstrom. I'd been pining to see the West Coast (especially Cali, and especially Los Angeles) for a few years now, and this was the answering of all my prayers to the fashion powers that be, the fashion powers that dictate my life and schedule and time zone and longitude at any given time. And LA was fantastic: for a day and a half I absorbed the sun, ate highly instagrammable food and drank overpriced juices. And worked, there might have been some of that, too... Photographs by Beau Grealy, Makeup by John Mckay.
I threw up all night the night of January 26, 2017. I was in Paris, renting a room in a lawyer lady's apartment, and I was gripped by my mystery migraine/bug. But worse than the pangs and lonesome hours awake in the dark was the fact that the next day I was shooting--and shooting a rather raw, close-up lookbook. Happily, however, my stomach had calmed when I woke the next morning and made my way an hour North to the suburb of Saint Denis, where I proceeded to get lost along a highway outside the metro and receive many confusing directions from homeless people under an overpass before finally finding the studio where I was expected. I was flustered and an hour late. My pains were rewarded generously, though, by the shoot that ensued, a shoot who's ease, simplicity, and naturalness satisfied a craving I've had for authenticity in appearance. No cakey makeup, no straightened hair, no layers or distractions obscuring me. Now, months later, the images have been published in an artful Repossi book that I cherish. Migraines and the intricacies of Saint Denis notwithstanding, this shoot is among the favorites of my career. Photographed by Jeremy Everett, styled by Malina Joseph Gilchrist, Jewelry of course by Gaia Repossi. Thank you all!
The lovely thing about the season of Resort/"Cruise" shows is that it has no definite time constraints: it moves slowly, enjoyably, and spreads itself over the globe entire. This year we have seen Resort shows in Kyoto, Paris, Los Angeles, and now New York. Last Tuesday morning I rolled out of a borrowed bunk bed on 34th street at 4:30 am to set out for the Valentino Resort show on Bond street, in quiet Noho. The thrill that made the excruciating call time more than worth it? I was given rings as part of my outfit for the show that spelled out my name, across the knuckles of my right hand. Some girls had slogans like 'Freedom' and 'Make Love,' and as much as I would love to wear a universal, optimistic message like that, something about sporting my own name in metal on my hand as I walked by Anna Wintour and Edward Enninful in the front row of a Valentino show felt, well, pretty damn good. Thank you Patritzia Pilotti for casting me, and Pierpaolo Piccioli for your unique support, I really and truly appreciate it beyond words. Hair and Makeup by Guido Palau and Pat McGrath, Styling by Joe McKenna.
Another fantastic Dior experience on the heels of Tokyo, this Cruise show took place in LA in mid May, at another elevated venue on another breezy Spring night. The place was Las Virgenes Canyon preservation, the theme Western-y and Native American-y pioneer chic. And, yes, there was a real hot air balloon behind me.
One night, in a strong spring wind, on a rooftop....over Tokyo! This reshowing of Maria Grazia's first couture show as creative director of Dior was pure magic, and one of the most unforgettable-and joyful-catwalks of my career! Thank you Michelle Lee for casting me, Maria Grazia for your loyalty and imagination, and everyone else who made this possible xxx
February Fashion Week I did one show in New York (Phillip Lim) and one show in Paris (Nina Ricci), and in between worked for a week in the flatlands outside Bangkok and tried not to get too sunburned :)